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Time Out
a day ago
- Entertainment
- Time Out
Oh, Mary! director Sam Pinkleton on comedy, truth and the right kind of wrong
"I'm obsessed with rollercoasters," says Sam Pinkleton, the director of the Broadway smash Oh, Mary!"Much more than theater, unfortunately." He's semi-joking about that last part, but it does give a sense of the sensibility he has brought to Cole Escola's zany pseudo-historical farce about Mary Todd Lincoln—who, in Escola's fevered comic vision, is a raging boozehound clinging to delusional hopes of stardom as a cabaret chanteuse. It has been Pinkleton's job to keep the play on track as, not unlike a rollercoaster, it races through Mary's wild highs and lows, evoking screams of laughter. The assignment is harder than the result makes it look: not only to keep the comedy rolling, nearly without stopping for breath, but also to sustain the right tonal balance of irreverence and celebration, and even to tease out latent strands of feeling. Pinkleton has worked on nine Broadway shows, but mostly as a movement director or choreographer; he earned his first Tony nomination for his excellent works Natasha, Pierre & the Great Comet of 1812. Oh, Mary!, his Broadway debut as a director, has earned him a second nomination this year. We talked with him about about actresses, camp and what makes Oh, Mary! such a wild ride. In advance of the Tony Awards on June 8, Time Out has conducted in-depth interviews with select nominees. We'll be rolling out those interviews every day this week; the full collection to date is here. You've had projects on Broadway before, but they've been as a choreographer. This is your Broadway debut as a director. And it seems to have gone very well! It has, definitely. It has objectively gone well. Because it's a farce, the movement is very tightly orchestrated. Would it be fair to call it choreographed? It's definitely rigorous and calculated. We're going after a very specific thing with it. But it felt—not to be reductive about it—it just felt like directing a play. It felt like directing a play that had a lot of extreme physical assignments and requirements that we wanted to approach with honesty and stupidity. Thinking about it as meticulously choreographed came after the fact. At no point at the beginning of it, when Cole and I were talking about it, was I thinking, "Well, I'm a highly experienced choreographer and that is gonna really come in handy." It was just, Oh, Let's roll our sleeves up and throw our bodies around. And Cole is only capable of performing at 125%, so with Cole at the center of it, it could only be a Super Bowl physical event. I had the pleasure of seeing Betty Gilpin as Mary during her stint as a replacement, and she gave an immensely physical performance as well. I mean, that shouldn't be a surprise—because she was in GLOW for goodness' sake, which couldn't be more physical—but it was interesting to see her in the part because she was a very different Mary. Betty Gilpin is an Olympian in every way. She is the most exacting and fierce—I mean, she learned how to wrestle professionally for a TV show, and that's the energy she came in with. She and Cole—and Tituss, in a way—are very similar in that they're athletes. They approached the play like athletes. And it's not pleasant psychological work. It's like working in a butcher shop. When Cole is playing Mary, it has a protective coloration of camp in a way that's just inherent to Cole's sensibility and presence on stage. Whereas with Betty, it felt really raw and emotional. She was still very funny, but she was really invested. Because Mary seems bipolar or something, if you take her literally. I keep saying I've had to direct the play four times now—which has been great. I hope to direct the play 30 times—but Betty, because she was the first, taught me how good the play is, if that makes sense. Because all of a sudden there's a great actress who shows up to work with a script and is taking it at face value, and it's like, Oh yeah, right! This is about a woman in crisis who has this incredible need, who will do anything she can to get what she wants. And that sounds like every play I've ever heard of before; it's the bones of good drama. And I totally agree with you: She played it straight. She just did it. And that made me really excited about seeing actresses do it. Because you know Cole; Cole loves an actress. And I don't even mean on Broadway—I mean seeing that lady in Cleveland who was amazing in Ibsen do this. Yes! I wanna see the regional theater ladies get their fingers on this because it's such a juicy part. I mean, Cole wrote it for themself and is glorious and perfect as Mary. But it turns out it can work well even without them. Completely. I think we've talked about this so much that people are tired of hearing about it, but it's true: In rehearsal, the thing we did was take it dead seriously. We tried to make it as honest and as deep as possible. The means of doing that were often completely idiotic, but we weren't trying to make gags. We were trying to really approach this woman with love. And I do think Betty really anchored it in gravity. But yeah, I wanna see all those regional theater ladies do it. I also wanna hear them say cunt. [Laughs.] They don't get to say cunt in Ibsen. Not as often as one would like! Someone should do it in Hedda Gabler, maybe. But Oh, Mary! is very much a comedy, which is one of the things that makes the Tony race for Best Place so interesting this year. I liked all five of the nominees a lot, but they are very, very different. It's always a crapshoot, but comedies are historically at a big disadvantage. Yasmina Reza won for Art and God of Carnage, but it's hard to think of others. Neil Simon never won until his late-career dramedies. Tom Stoppard won for Travesties and Rosencrantz and Guildenstern Are Dead, which are sort of comedies I guess, but they have such a literary bent. Yes. We're like that, Adam! What's the difference? [ Laughs. ] I just mean that if Oh, Mary! were to win Best Play, that would really be kind of unprecedented for the kind of hard comedy it is. And yet it feels like the show is really in the running. As you say, it's a crapshoot. It's been an extraordinary season, and I love all of the plays that were nominated, which is strange and rare. Plays that are not regurgitated! So I don't know what's gonna happen, and I certainly can't try to predict that. But I have watched the play get taken really seriously by audiences over the life cycles of it. When we decided to come to Broadway, we were like, Okay, we're gonna do it for a very short amount of time just so that more dumb gay people can see it. But over the last year, I have watched tourist families enjoy our show and I've watched people who read The New Yorker and go to every play enjoy our show. And I'm sure there are people who don't enjoy our show, but it has been a really pleasant surprise—and frankly, quite moving—to see the show get embraced by an audience that is quite a bit broader than what Cole and I were thinking about when we started making it. Because the play is oddly sincere and uncynical, and it's made with a lot of love. It's made by people who—I am so tired of hearing myself say this, but it's unfortunately true—it's made by theater nerds. It's not like, "Fuck you! We're doing this play!" I think part of why it works is that Cole loves the form so much, and our designers love the form so much. The production strikes such a tricky balance, because to some extent it's gonna be tongue-in-cheek; it's designed and performed in a kind of low-tech style that knowingly verges on amateurism, which is part of its camp sensibility. You don't want it to be perfect, because then it just is the thing itself; it has to be something that aspires to be the thing but in some way isn't quite the thing. Camp is so complicated and we don't need to go down a long rabbit hole about it—I mean, I literally spent an hour at Julius' last week trying to explain to a straight Marine. Wow, that is a community service. Yeah. Well, first I said that something was kitsch, and he didn't know what that meant, so I said, Well, it's a little like camp for straight people, but not quite, and then he didn't understand that at all. So I had to step back and find some kind of beginning… But also you explaining all this to a stray Marine at Julius is camp. So the snake is just biting its tail. [ Laughs.] Right? But it's actual camp—it's not campy, if you know what I mean. And there really isn't an exact defining line for any of these things. The production deliberately seems a certain way. You have set designers who very much know what they're doing and would be capable of designing a more realistic set if they chose to. Same with the costumes: They should look like they're out of a trunk, and the beards shouldn't look like perfect fake beards. So where does that line approximately sit for you? I have to be honest, It's a real tightrope walk. It came from a ton of trial and error, and it has been refined a lot along the way. When I look back at the pictures from tech when we did it downtown, I'm like, This is embarrassing! This wasn't a good show! 'Cause it was the wrong kind of wrong, you know? And we've been trying to find the right kind of wrong. And one thing that's really important to me is that it doesn't feel like we're mocking something. It doesn't feel like we're rolling our eyes or taking the wind out of something. We're actually embracing it and loving it. In our first conversations, Cole and I talked about doing theater in high school, when you're like, This set is completely amazing! And you look back at it in pictures and actually that set was really shitty. But it was made with love. And we talked about going to community theater where people are putting effort into something. That was the biggest thing. When community-theater designers and directors and actors make a show, they're not making fun of it. They love it. They're doing the absolute best they can with the tools they have. So yes, the bookshelf is flat and painted, but it's cared for. I think that has really been the line. And we had the privilege of refining it Off Broadway; a lot of details really changed on Broadway, actually, even though I hope it still seems like the same show. But as a group of collaborators, we got very good at feeling like, Oh, that is the show, but that's a step too far or that feels cynical or that feels like we're just trying to make people laugh or that's too good, as you say. But I think that's every show: You find that weird sweet spot and it can be kind of chemical. There's a bit of a Mickey and Judy quality. The joy of it is that they're putting up a show in the barn, and if you go to that barn show and sniff that it's not up to Ziegfeld Follies standards, you're getting it wrong. The limitations of the Lortel informed a lot for us, and also the kind of big-eyed wonder—when you're making a show in a barn or your high school or whatever—of, 'We're gonna have a set change.' But you can really only have one, so that means you just spin the set around. And that worked at the Lortel. But when we moved to Broadway, one of the first things I said to the designers was, We can't apologize for being on Broadway. The Lyceum is so beautiful, and it looks like it was designed for the play. The theater itself is funny; it looks like The Muppet Show. So I want to embrace that we're on Broadway. I want to embrace that there are people on that top balcony as opposed to, 'Yeah, we're doing this crazy downtown thing uptown, 'cause it's a prank!' It's not a prank. It looks beautiful in that theater. And the big surprise at the end of the show—you know what it is—was completely redesigned on Broadway, because we wanted to embrace the scale of the room. And if we had done what we did downtown, it would've felt like, 'Ha ha, isn't this shitty? Ha ha ha.' And that's not the story. The story is that her dreams come true. Right? And if Cole were not themself like Mary in some sense—if Cole had not actually spent 15 years performing in cabarets around the city—then it would feel quite different, I think. It would feel false. It would feel like a lie. Cole has always been so magical. I was trying to think back to the last time I saw a lead performer in a Broadway comedy who commanded the stage and the audience so completely. I'm probably forgetting someone, but the one that came to mind for me was Linda Lavin in The Tale of the Allergist's Wife. I was just about to—! As you were saying this, I was like, It's really Linda Lavin. Yes, and then I remembered that you worked with Linda! The other major production I've seen that you've directed was You Will Get Sick with her in 2022. And you were also involved with The Lyons when it was on Broadway in 2011. What was your experience of working with her? I actually told this story very recently. I met her on The Lyons, which was at its heart a comedy but went to dark places. She's the hardest worker in show business. But she was so exacting about timing and physical comedy: If I turn my head here, they'll laugh, but if I do this, they won't. Like a mad scientist, obsessive with details. And it was the coolest thing in the world to watch—to sit between her and [the playwright] Nicky Silver, who is also super exacting about comedy, and old-school: bah-pah-da-pa-dah and boom, everybody laughs. That was grad school for me, especially because we got to do that play twice. So I spent a year watching Linda make comedy, and when I asked her to do You Will Get Sick, which was ultimately her last play, she said yes very quickly, which was cool, because she wanted to do weird, unexpected things with new writers. She was 85 and had three-page monologues and showed up on the first day off book. At the beginning of every rehearsal, I make everybody do an idiotic physical warmup to pop music—no opting out. And Linda Lavin at 85 was very happily jiggling around to Rihanna. I talked to Cole about her all the time because they sadly didn't know each other. After Cole, she's the funniest person I've ever met. She would do the show and then go to the bar and continue to make you laugh. She was a very major loss for me. She became a very good friend in the last few years of her life. Did you know her at all? No. I got to meet her a couple of times, but no. Well, all the rumors are true. We just finished the Linda Lavin memorial tour: four different events, each gayer than the last. And all anyone could say was just what a hard worker she was and how rigorous and not-accidental it was. I think that's a thing she really shares with Cole. It's easy to come see Oh, Mary! and say it's hilarious. Adam—it's so much work. And there is no detail too small. It's a very old-school thing. And there definitely is an old-school quality to Cole's sensibility. That's evident in every aspect of their personality. And that's part of the secret in this show, I think. Oh, Mary! seems like a weird new thing on Broadway, but it works because it has deep Broadway roots—like Hamilton does, or Company. These shows that change the game can't be completely off the map, because then they wouldn't work. Totally. This is made by theater people. Cole and I are theater people. When we were designing it and teching it, the things we were talking about were, like, Jerry Herman musicals and boulevard comedies and—plays! Plays. I probably shouldn't say this, but for something that has been lauded for being so unconventional, it's really conventional. It sort of sneaks in. By the end you realize, Oh wait! This is a play! It's a play with a couch! And I appreciate you asking about it being serious as a play, because that is a thing I really care about. I care about it because I think it's such an exacting piece of writing. It's certainly serious about being entertaining. But there isn't an obvious message. I mean, a lot of plays have a feeling of importance because they're about something important. Everything is an issue play now, or else people don't think it's important enough to be on Broadway. But I don't know what the issue is in Oh, Mary! I don't think there's an issue that's like, 'We're upset about healthcare policy so we gotta fight it out in the streets of Detroit.' But we talked a lot in rehearsal about how the story was gonna end for her. And there were a lot of different versions of it. And it became very important to me and Cole that she won. That she got it. And I have grown to be very moved—watching, like, my dad from Southern Virginia watch Oh, Mary! —by the very simple thing of, like: It's about a woman who wants something and everybody thinks she's crazy. Everybody thinks she's crazy and she's fucking not. And that is meaningful to me. Well, she's not un -crazy. She's not—well— I think I would say that it's not, for me, that she's not crazy. It's that crazy people deserve things too. Totally—yes. Yes. And I do feel very moved by that. There's a little speech in a scene in the middle of the play with Mary's teacher, where she talks about the highs being too high and the lows being too low, and how being with Abe is this steadying thing because she can't have a great day. I do think that if you peel back all the layers of total fucking buffoonery, she's a character that any weirdo or anyone who has felt like a weirdo can relate to. I think Cole has gone on the record about the oddly autobiographical nature of the character and of the show. So the bones of it are rooted in truth. That's cliché, but it's absolutely true. If they weren't, we would have a 10-minute sketch. It would be a delightful 10-minute sketch, but it would be a sketch and you would get tired of it pretty quickly. Right. And this somehow keeps a comic momentum for 85 minutes, which is almost impossible these days. The pacing is relentless. But I imagine there's no good way to answer the question of how you keep that up, because it's just moment by moment, I guess. Moment by moment. And not treating the audience like idiots. Cole and I are obsessed—capital-o Obsessed —with the game of staying ahead of the audience. Part of the development of the play—because we carve away at it through previews downtown and even through previews on Broadway—is that the minute it feels like the audience is ahead of it, move on, move on, move on. And that is a science. It can be hard because there might be things that you love doing, but the fun of the ride is staying ahead of the audience. I reread every Agatha Christie book during the pandemic, and I sometimes feel like many plays are secretly mysteries. Who did what, and when? Where is it going, and why? And like in a mystery, the show plants the clues as it goes along so you can look back at the end and it all makes sense. Totally. It's the theater. It shouldn't be a passive experience. Give people something to do. It's fun when it's a ride. But you don't want the clues to stick out too obviously, or it's boring. Yes. But the ride—I actually just ran into somebody on the street who was like, 'I've seen the play eight times.' And I was like, Well, first of all, you have a sickness. But I hear that a play has a ton of secrets, and part of the fun is discovering those secrets. But it's like riding a rollercoaster. And if you love a rollercoaster, you love to ride it over and over again, even if you know where it's gonna go.
Daily Mirror
5 days ago
- Daily Mirror
'Horrified' Natasha Hamilton's family at Liverpool parade where car drove i fans
Fans were celebrating Liverpool's Premier League victory on Monday when a 53-year-old British man drove his car into fans, injuring dozens of people Natasha Hamilton revealed her father and nephew were at the Liverpool parade moments before a car drove into fans. Fans were celebrating Liverpool's Premier League victory on Monday when a 53-year-old white British man drove his car into fans, injuring dozens of people. Four children were injured in the incident in Liverpool last night, a spokesperson for North West Ambulance Service recently confirmed. It was announced that 20 patients were treated at the scene for minor injuries and did not need hospital treatment. 27 people were taken to the hospital via ambulance, with two of them sustaining serious injuries. A cyclist paramedic was also struck by the vehicle but was not injured. Following the horrific incident, Atomic Kitten singer Natasha revealed her dad and nephew were at the very same parade that day as she took to her Instagram Stories to share a picture of the two wearing Liverpool shirts. She wrote: "My dad and nephew were in Liverpool today at the celebration parade. Then I saw a video of what happened and my heart sank. Thankfully they're both safe but I'm absolutely horrified at what I saw today and my thoughts and prayers are with all those affected." Service confirmed two people have been seriously injured, one of whom is a child. Merseyside Police are not treating the horror as an act of terrorism. Fire crews and ambulances raced to the scene where they freed three adults and one child who were trapped under a vehicle. Disturbing footage circulating on social media shows a car driving erratically through crowds on Water Street and hitting multiple people before coming to a halt. Other clips from the scene show the chaotic aftermath as ambulances line the street, with fans visibly confused about what had just happened. A 53-year-old white British man from the Liverpool area was arrested in relation to the incident. Prime Minister Keir Starmer said the scenes in Liverpool were "appalling" and added his thoughts were with the victims. Since the incident, the police urged people "not to speculate on the circumstances" of the crash in a statement. They added: "We can confirm the man arrested is a 53-year-old white British man from the Liverpool area. Extensive enquiries are ongoing to establish the circumstances leading up to the collision. "We would ask people not to share distressing content online but to send the footage or information directly to us @MerPolCC or pass on information by calling 101 quoting log 784. Information can also be passed on anonymously via Crimestoppers on 0800 555 111." Many took to social media to send their thoughts and prayers to those at the Liverpool parade, including John Bishop. The comedian, who was at the parade earlier in the day, said: "I was at the parade today with my dad and like everyone else I am shocked and heartbroken about the events at the end of the Liverpool parade." Bishop added his sympathies for those involved stating: "My heart goes out to all those affected. Our anthem could not be more appropriate You'll Never Walk Alone."
NDTV
24-05-2025
- Entertainment
- NDTV
Natasha Poonawalla Shines Bright At Cannes 2025 In A Balenciaga Gold Foil Gown
It is Natasha Poonawalla's world, and we are all just living in it. The business tycoon and fashion force is currently making waves at the 78th Annual Cannes Film Festival. Post turning heads dressed in an archival Dior ensemble, Natasha is now dazzling fans with a gold statement that oozes luxury and power. Also Read: Inside Natasha Poonawalla's White Christmas In Lapland Natasha Poonawalla recently attended the amfAR Gala at Cannes 2025. The ultra-exclusive soiree was held at the legendary Hôtel du Cap-Eden-Roc in Cap d'Antibes, France. While the event was packed with several celebrities, Natasha's sartorial presence was impossible to overlook. The diva wore a gilded gold foil gown from Balenciaga's Resort 2025 collection which was a true vision in metallic hues. The dress hugged her bust and torso before flowing into a subtle flare waist downwards. With its tiered details cascading down and a dramatic train following her around, the gown defined high fashion at its finest. The off-shoulder neckline of the ensemble added a modern edge, while the texture and sheen of the fabric made the entire look feel like a wearable piece of art. View this post on Instagram A post shared by Natasha Poonawalla (@ Natasha Poonawalla's accessories of the day were equally impressive. She paired the golden look with oversized black earrings and statement black sunglasses and huge diamond ring that sparkled adorned on her finger. but what really turned heads was the sleek black Balenciaga tumbler she carried which made for a stylish and on-trend Stanley inspired switch from a traditional clutch. Completing the ensemble were a pair of black stilettos that added a few extra inches to the fashion icon's already impressive stature. Natasha's beauty game, crafted by celebrity makeup artist Valeria Ferreira, was both polished and glamorous. She went with glossy pink lips, softly blushed cheeks and an ample amount of highlighter added to the highpoints of her face. A sharp winged liner brought focus to her eyes which were enhanced by fluttery lashes and well-defined brows. Her hair was kept simple in a salon style blown out, middle-parted style that allowed her outfit do all the talking. In Natasha Poonawalla's signature style, her Cannes 2025 look was the gold standard of high fashion.
News18
24-05-2025
- Entertainment
- News18
Natasha Poonawalla Just Turned Herself Into A Gift At Cannes
Last Updated: For her appearance at the amfAR gala at Cannes, Natasha Poonawalla dressed head to toe in Balenciaga. After delivering some striking looks at the Met Gala in New York earlier this month, philanthropist and businesswoman Natasha Poonawalla is currently in Cannes. Recently, the Executive Director of the Serum Institute of India and the chairperson of the Villoo Poonawalla Foundation attended the amfAR gala that was held at the Cannes Film Festival. For her appearance at the event, she opted for a head-turning gold look by Balenciaga. Taking to her Instagram, Natasha Poonawalla shared a series of pictures of herself in her gold ensemble. The pictures showed her striking some stunning poses on the terrace with the French Riviera in the background. In other pictures, she was seen lying down on a white couch. She also included pictures from the amfAR dinner. Sharing these pictures, she wrote, 'Wake up and Show up!" Take a closer look at Natasha's OOTD here. View this post on Instagram A post shared by Natasha Poonawalla (@ For her appearance at the amfAR gala, Natasha opted for a statement strapless gold dress from Balenciaga. The strapless number was originally a part of the brand's Resort 2025 look. The sleeveless dress mimicked gold foil gift packaging, and it was a statement in itself. The gown came with a fitted bodice that was balanced by the voluminous details that mimicked a crushed gold packaging. It also came with a train that grazed the floor. Natasha paired this dress with Balenciaga's 9 AM clutch that looked like an on-the-go coffee cup. The philanthropist slipped into a pair of black pointed toe heels by Balenciaga. For the glam, Natasha went with a flawlessly matte base. She defined her eyes with a soft brown smokey eye look. She added a winged eyeliner and mascara to accentuate her eyes further. She contoured her face to highlight her sharp features. She added a muted brown shade on her lips and completed her look by leaving her hair open. First Published: May 24, 2025, 09:42 IST
Hans India
24-05-2025
- Entertainment
- Hans India
Natasha Nyeri-Rosy: Beauty, purpose, & a mission beyond the crown
Amid the buzz and elegance of the 72nd Miss World Festival, Natasha Nyeri-Rosy, crowned Miss World Uganda 2024–2025, stands out not just for her poise and grace, but for a compelling mission close to her heart—advocating for autism awareness. In a candid conversation, she shared her journey, inspirations, and aspirations beyond the runway. 'It's an honour to be representing my country, Uganda, at the Miss World Festival,' said Natasha, her voice filled with emotion. 'It's something I've always dreamt of, and seeing it come true is so surreal. I'm very grateful to God for this chance.' For Natasha, Miss World was never just about beauty. It was the 'Beauty with a Purpose' ethos that pulled her in. Inspired by her younger brother Ethan, who was diagnosed with autism at the age of two, Natasha took on a mission that transcends pageantry. 'Autism is something deeply personal to me,' she shared. 'My little brother was diagnosed when he was just two, and I've seen the challenges my family has faced. In Uganda, inclusion—especially in healthcare and education—is still limited. That's something I want to change.' Through her project, the Nyonyozi Initiative, Natasha has already been making waves. From organizing Autism Awareness Walks and Runs to leading outreach programs, she's built a platform to empower children with special needs and their families. 'We've had events to create more awareness and build support systems. And now, I'm also working on publishing a book titled Colours of the Spectrum. It's a collection of stories from parents and individuals living with autism—stories that offer hope and inspiration.' The inspiration for her upcoming book came from home. 'The dynamics of my family, growing up with a sibling on the spectrum, made me realize every autism journey is different,' Natasha said. 'That's why it's called a spectrum. The book is a tribute to that diversity, and to all the parents and children navigating it.' Natasha's plans don't stop with storytelling. She's also venturing into technology with an idea that could revolutionize communication for non-verbal children. 'My brother is non-verbal, and communication is a struggle,' she explained. 'I want to develop an app with sensory features that will help children like him express themselves—especially with people outside their families.' A qualified accountant and entrepreneur, Natasha balances her advocacy with running a beauty store she launched a year ago. 'It's a collection of makeup and skincare brands, and one day I hope to launch my own line,' she smiled. 'I believe in women empowerment through beauty—helping women feel confident in their skin and who they are.' To her, empowerment means collaboration, not competition. 'Women at the top are collaborating, not stepping on each other,' she emphasized. 'We should embrace and uplift one another. Miss World has given so many young women a chance to lead and create real impact. It's more than a crown—it's a platform for change.' She's also deeply grateful for the connections formed through Miss World. 'The sisterhood we've built here is for life,' Natasha said. 'Even after the competition, we'll continue to support and empower each other's projects.' For young girls dreaming of Miss World, Natasha had a clear message: 'Go for it—100%! Believe in yourself. Self-confidence is everything. Your dreams are valid, and no one can take that away from you.' And when asked whether women can truly make a difference in their communities, her answer was firm. 'Absolutely. Growth comes with collaboration, and through initiatives like Miss World's Beauty with a Purpose, we're seeing real change. I'm excited to keep working with my sisters to build a better world.' Natasha Nyeri-Rosy is not just wearing the crown—she's using it as a beacon for awareness, inclusion, and empowerment. For Uganda, and for the world.
